Premiere's Scores

  • Movies
For 1,070 reviews, this publication has graded:
  • 58% higher than the average critic
  • 2% same as the average critic
  • 40% lower than the average critic
On average, this publication grades 2.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 The Darjeeling Limited
Lowest review score: 0 I Know Who Killed Me
Score distribution:
1,070 movie reviews
  1. What once was a gifted comic's fluid improvisation is now a doddering old man so embarrassing he's uncomfortable to watch, and the surrogate father-daughter needling he has with Johansson is creepy when you realize Woody the director is shooting her seductively in that skintight bathing suit.
  2. Trust the Man mainly feels like the work of a New Yorker who hasn't left his trendy neighborhood in ten years.
  3. Director Brad Anderson (Session 9) overtly cribs from everyone from Dostoevsky to Kafka.
    • 25 Metascore
    • 38 Critic Score
    Krasinski and Moore are an adorable couple, but marriage material they aren't, especially since they're given a mere ten minutes to form a full-fledged relationship before Williams breathlessly barges into the picture.
    • 36 Metascore
    • 38 Critic Score
    Overall, Little Black Book is the cinematic equivalent of chic lit--mildly amusing, but completely forgettable once you're done with it.
  4. By straining to make a respectful war film for everyone, Winkler and Friedman have wound up with a toothless picture that won't satisfy anyone.
    • 65 Metascore
    • 38 Critic Score
    Overall, I Am Legend is a wasted opportunity -- a rickety, weather-beaten framework around an otherwise strong central performance from Smith.
  5. At best, this movie functions as a brief companion piece to Boy George's new Broadway show, “Taboo.”
    • 45 Metascore
    • 38 Critic Score
    We'd really like to crawl into William Hurt's head and experience whatever movie he thought HE was making.
    • 56 Metascore
    • 38 Critic Score
    There are certainly some laughs to be had in Holiday (mostly of the "so dumb it’s funny" variety), but not much else.
  6. What little anti-war critique Peirce presents -- and she has it in her, which makes it all the more dubious -- gets trampled over by jingoistic Rambo porn.
  7. For the most part, Murphy is pitching somewhere between "American Beauty" and "The Royal Tenenbaums"; indeed, the characters Bening and Gwyneth Paltrow play in Scissors are, in a sense, inversions of their roles in Beauty and Tenenbaums, respectively.
  8. Paycheck is a bogus journey.
  9. The story is a vapid "Casablanca"-lite.
  10. Earle fans might see this film as a satisfying portrayal of a man they know and love, but those unfamiliar with the man and his music will likely leave the theater without much more interest in him than when the movie began.
    • 34 Metascore
    • 38 Critic Score
    A nonsensical vision of pre-history that lurches randomly between "caveman vs. jungle beast" encounters -- Roland Emmerich's Shlockalypto -- and a rococo Stargate spin-off involving pyramids, slave uprisings and oracles.
  11. There's no question that Civil Brand has an ambitious premise, but it feels boxed in by the standard prison-movie formula.
  12. A tediously noisesome English-language remake of an Asian horror picture that wasn't any great shakes to begin with.
  13. While "House of Sand and Fog" remained (somewhat precariously) balanced on the knife-edge that can turn tragedy into bathos, this picture doesn't fare nearly as well, and begins weighing down the viewer with its putative significance only minutes after its opening credits.
    • 30 Metascore
    • 38 Critic Score
    The streetball scenes, much like the plot, have a few high points but never hit their stride.
    • 46 Metascore
    • 38 Critic Score
    The supporting players do a serviceable job in their roles, but no amount of Oscar-nominee nuance from Giamatti or Linney can salvage what amounts to a candy-striped trifle for post-collegiate slacker existentialists.
    • 38 Metascore
    • 38 Critic Score
    This film should have soared, but doesn't quite get off the ground.
  14. From an audience perspective, the title’s fairly apt as well.
    • 29 Metascore
    • 38 Critic Score
    Although it wasn't quite the comedy we had hoped for, the idea behind it is pretty cute; we just wished the laughs weren't so awkward and forced.
  15. In the age of reality television, Paparazzi feels desperately out-of-touch, the jaded grousings of an industry burnout.
  16. Blunderingly out-of-touch, star-studded embarrassment of a sequel.
  17. Noisome, fragmented mess of a movie, the fourth film based on Jack Finney's novel "The Body Snatchers" and the worst of them all.
  18. This booming, cartoonish confection is a transparent attempt to take a property Disney owns rights to, and to try and create a Harry Potter-like franchise.
    • 26 Metascore
    • 38 Critic Score
    Little Man only proves that some should just stick to the sketch comedy, and leave the big screen to "Big Daddys" like Adam Sandler who the critics tend to snub, but who know how to make an audience laugh.
  19. Chan still sounds silly talkin' jive, the action sequences are peppy if not exactly memorable, and the gags have been sitting out long enough to make penicillin.

Top Trailers